4th Annual Grateful Dead Meet-Up At The Movies - Beat Club 4/21/72
We're brimmin' with Bremen over at Dead.net! That's right, the festivities surrounding the 4th Annual Meet-Up At The Movies: Beat Club 4/21/72 have started early for us. If you haven't purchased your ticket for this one-night only event featuring the never-before-seen Beat Club studio performance in its entirety, restored from the original broadcast 2” quad video and audio mixed and mastered from the original analog tapes, let us set the scene with the official liner notes plucked from the sold out Europe '72: The Complete Recordings boxed set.
All that most of the world knows about the city of Bremen in northern Germany is that once upon a time, long ago, there were these four old animals—a cat, a dog, a donkey and a rooster—who left their farms in the countryside and headed towards Bremen, where they hoped to live out their days as musicians. Oh, wait—that didn’t really happen. That’s the old Brothers Grimm fairy tale, The Town Musicians of Bremen. Fast forward. When the Grateful Dead—which included a few cats, a bird and a pig—hit Bremen in the third week of April in ’72, the city was still a destination for traveling musicians, thanks to a popular television program that emanated from there, called Beat-Club.
Beat-Club was Germany’s first major rock ’n’ roll TV show, on the air monthly (or so) since September 1965 (through the end of 1972). Typically, each program would feature several acts, some shot live in the rather sterile Studio 3 of Radio Bremen, and others appearing on film or video supplied from elsewhere. Basically, everyone who was anyone in rock music in the late ’60s and early ’70s showed up on Beat-Club at one time or another—and so did a lot of acts no one in the U.S. has ever heard of! Typically, a band taping in Bremen for Beat-Club would have a song or two appear on the monthly program a few weeks later, and one suspects that most acts probably came to the studio with a good idea of what song(s) they wanted to highlight, and knocked it out quickly.
Ah, but things were a little different when the Grateful Dead rolled into town with their tie-dyed amps, their entourage of long-haired “family,” and their recording truck parked outside. Maybe the Dead knew that day that “One More Saturday Night” would be the song that would air on the May 27 edition of the Beat-Club program, but they sure didn’t act that way. Instead, after a sound check that included “Loser” and “Black-Throated Wind,” they played a remarkable 80-minute set that mixed short songs with big jamming tunes, including two charged versions of “Playing in the Band,” and a spectacular “Truckin’” > “Other One” sequence that is more than 30 minutes long. That the band could play this well in front of a bunch German TV technicians, rather than their usual sea of swaying and flailing hippies, is amazing. That it was all captured in crystal-clear close-up video is truly a gift from the Gods (and if there’s any justice in the universe, the Gods will someday allow that video to be released commercially).
But even studying the aural document is fascinating. For one thing, the sound is recording-studio-clear, with no venue ambience or crowd seeping into the mics. And it’s not just an ordinary show: Garcia only sings two numbers, Pigpen one, and Bob six. After Jerry casually says “we’re rolling,” Bobby shouts into the microphone, “Ladies and gentlemen, the Grrrrrateful Dead!” and the band kicks into “Bertha,” crisp and energetic, but marred by a couple of lyric flaws. Then comes “Playing in the Band,” which the group pulled out at every stop on the Europe tour, and was great every single night. Jerry is all over the wah-wah pedal during the middle jam, making it growl and cry and squeal. “Mr. Charlie” is just about letter-perfect.
That is followed by our first do-over of the day—a luxury afforded by the fact there is no audience and this isn’t a “concert” per se. About a minute into “Sugaree,” Jerry says, “Hold it, hold it. Somebody played the wrong changes in there” (cough-Pigpen-cough), so they start at the top again. A few tunes later, Bobby halts a second version of “Playing” after he blows the first line: “Some folks trust in treason,” he sings. (It’s not clear why they do “Playing” again, as the first version was excellent. But the one that comes after the flub is even better, with a more intense middle section and much mind-bending bass work from Phil. Maybe they were more warmed-up second time ’round.) The final song-stopping calamity comes on “Truckin’,” after Bob completely spaces his entrance to the first verse, leading to the band hilariously attempting a shutdown of the song that’s all discordant crashing and colliding instruments, like some catastrophic orchestra mishap in a Bugs Bunny cartoon. Second time is the charm, though, and the group nails it and kicks off the long and exciting journey mentioned above.
“The Other One” that emerges from a short post-“Truckin’” drum solo by Billy is full of drive and fire, like snorting and snarling horses galloping through Germany’s mysterious Black Forest. But it’s the six minutes after the second verse of “The Other One” that I want to highlight. The band doesn’t seem to have any idea about what, if any, song they might play next (surely they were past their allotted taping time and the German sound and TV crew were wondering whether this jamathon was ever going to end), so the Dead just float from one musical notion to the next. Squealing feedback gives way to a brief lilting jam. At one point Billy clicks into a little groove and the others follow and it develops into one of those lovely passages that feels familiar but isn’t quite—are those hints of “Wharf Rat”? Is “Sugar Magnolia” around that bend? Instead they keep drifting about—Jerry gets into a hypnotic finger-picking pattern at one point—until it all just peters out. There’s a pause and then they suddenly build up one of their big, chaotic endings, which is a mess worthy of the laugh that follows it. And with that, the Town Musicians of Bremen were gone.
the fast changing head shots were a hinderance rather than an asset
The band was terrific in this recording. Wow! The sound and video quality were awesome! So tight..the jam out of Playing into the outtro guitar harmony between Jerry and Bob was excellent...both times Mr. Charlie was solid. Every song was solid, for that matter. I loved the goofing around with the towel, etc...they were having a ball! Hopefully this gets released commercially at some point...but then again, Dave Lemieux and the gang will probably limit it to 1000 copies and sell out before they officially go on sale.
it was Teddy Bear's Picnic by John Walter Bratton (per Wikli).
Fathom Events listed Norman, OK as a participating theater. We showed up at the theater last night raring to go, only to be told that they had no idea what I was talking about. It was too late to make it to Oklahoma City where it was also showing, unless I wanted to miss the first 40 minutes. I've missed out on this once and a lifetime experience...as I didn't start seeing the Dead until the late 80's. I hope they don't make this mistake again next year.
I would echo Chris Grand's comments-- other than not being able to handle a NFA-GDTRFB-NFA sequence at the end. I could have taken it. It was truly engrossing-- just the Grateful Dead playing some heavy music. No audience, just the boys lighting up that studio. The Other One was fantastic as it went in so many places. The buildup to the second verse really hit some high spots. The only downside for me was the fadeout-- I wonder where they went. The Other One and Truckin' were easily the highlight for me.
This was the first meet up for me as I had to skip previous years for various reasons. Actually had to miss some thing to make this one. Saw it in South Bend, Indiana with a smallish crowd in a good modern theater with good sound and nice seating. I arrived late and sat behind a couple talking throughout much of the movie (moved about halfway through) and had a group of men in their 50s behind me get up grumbling at the start of Truckin' that they needed to go drink beer, this is just some studio "crap" anyway. I don't think their minds could have taken The Other One anyhow-- that was some intense stuff.
I forgot I was in a movie theater - this was like having the Dead playing a concert in my living room. The intimacy was amazing. I would love it if this was one day released on disc. I went to the theater alone, as my wife has little interest in the Dead, but if I had known it would be this good, I would have dragged her along anyway.
Highlights for me were Keith smiling, Billy's drum solo, Jerry's sublime guitar work, playful antics between songs, song restarts, Jerry's awesome leather jacket, Donna's awesome pants. I'm not normally a Pigpen fan, but I enjoyed his song as well.
This was such a treat, and I thank the Dead crew for making this event happen, it was a 12 dollars very well spent.
i was pretty lit up after the show last night, so allow me to elaborate on my review...
sunshine daydream was like a day at the park, cool grooves and feeling no pain. bremen was like an injection of the grateful dead directly into your brain with a dentists drill. to be able to experience such close-up crystal clear video, along the band's obviously intentional attempt to blow some straight minds at a german TV studio, was unexpectedly intense
thats not what i was expecting from having listened to the show and seen a few clips. had they gone into warf rat>NFA>goin down the road>NFA (or something like that) after the other one, i probably wouldnt have been able to drive home
thanks for that dave/rhino/etc
that was absolutely a must-see
Great music & video but did anyone else feel taken? First off, the map of the theater on Phantom's web site was completely off so we got in at 7:40 missing Bertha and Mr. Charlie. The credits rolled at 8:39 inciting a collective wtf groan from the rather large audience. $12.50 and 60 miles for 69 minutes? I thought it was supposed to go longer than that. Hope they don't dupe us again next year...
In the middle of the Other One I suddenly remembered that they were in a studio, not a concert hall and was struck dumb! My mouth was already agape, but the places they drove us to in that performance brought my jaw to the floor.
I agree about the mix not being great for Bobby and Keith though, and was a little surprised how much of Pig's wood-scratcher-thing we could hear in Playin'. But all in all a great time!
Great event here in Atlanta. We even had a few dancers in the aisles. Sound was good, not great -- Keith got no love, and Bob's guitar was way down in the mix -- I suspect we were not hearing the full stereo field, but still amazing to see and hear it together. Most impressed by Donna, whose exuberance made me re-think a lot of my criticism of her. Even her bellows were on-target. You could SEE where she was coming from and that made a big difference. Pigpen was so gaunt. He looked 50 years old, but was only about half that. Lots of goofing between songs. But Jerry buckled down during the tunes and achieved liftoff during TOO, despite the sterile surroundings. I didn't expect this to be so much of a revelation. I don't really need a DVD now, it's imprinted in my brain.